The Deadly Spawn (1983) review

THE DEADLY SPAWN 1983 aka RETURN OF THE ALIEN'S DEADLY SPAWN

James Brewster (Sam), Elissa Neil (Barb), Charles George Hildebrandt (Charles)

Directed by Douglas McKeown

The Short Version: This low budget, fan friendly monster-gore movie is one of the best of its kind possessing an aura and passion not unlike what is seen in the equally raw and savage THE EVIL DEAD (1981). If nothing else, THE DEADLY SPAWN contains one of the most riotously original alien creatures to ever splatter body parts and viscera across a silver screen.


A meteorite crashes in the woods near a secluded neighborhood. A small, unfriendly alien emerges and, after being exposed to water, begins to grow at an alarming rate. The beast and its brood take up residence in the basement of a home and goes to work making meals of each household member and anyone who happens to go downstairs.


This is 'Do It Yourself' maverick horror of the highest order and one of the best low budget horror flicks of the 1980s bearing a look and feel on the level of Sam Raimi's THE EVIL DEAD (both films opened at the same time). The 1970s and the first half of the 1980s was populated by a dedicated group of guerrilla filmmakers, a number of which went on to successful careers of varying degree. THE DEADLY SPAWN is a monster movie for monster kids and a dream project for all those involved. Regardless of the limited means at the disposal of the filmmakers, the dedication and love for the subject matter is evident in virtually every frame most particularly in the overzealous gore sequences.

Look out behind you!

Started in 1980 and released in 1983, this was and still is an amazing feat for purportedly around $30,000 (Bohus put it at a little over $50,000), shot on weekends and managing theatrical distribution in the end. Truly there will never be another time such as the era in which THE DEADLY SPAWN was shot. Filmmakers these days are too preoccupied with video game graphics to invest in the actual art of prosthetic design. The creation of the toothy alien beast on display here is a testament to the genius of artisans working in movies back in the day who were well aware of their limited means turning dust to gold in the process. Basically a gigantic mass of teeth and slime, this nasty, flesh hungry, outer space monstrosity is easily one of the most original silver screen space creatures to ever splatter onto reels of celluloid.


The script is peppered with a lot of nods to 50s science fiction, but the splatter is poured on so thick, you're likely to miss them the first go round. For such a minuscule budget, the effects artists manage some magnificently juicy gore sequences the likes of which you won't find anymore. THE DEADLY SPAWN excels in this department. There is also a successful attempt at creating interesting characters, but these are totally overshadowed by the spectacularly over the top blood and gore. A highlight is the attack on the vegetarian women's party. In it, an army of baby spawns launch an attack while the ladies have lunch. The squirmy, slug like monsters then proceed to lunch on the ladies.


THE DEADLY SPAWN has since went on to be quite the cult hit with horror fans and a handful of Hollywood personalities. Seeing the creature on the poster artwork is enough to garner itself curiosity and attention. The old VHS big box release from Continental made sure to zero in on slobbering renters hungry for horror with its lurid front cover. Towards the end of the 1980s, a sequel was announced with a number of the first films crew being involved. Touted in horror magazines as DEADLY SPAWN 2: METAMORPHOSIS, the film wasn't really a true sequel, only the similarities in the monster designs and that many of the makers behind the original returned. It finally emerged in 1990 and was a worthy follow up with an increased budget and even more ambitious effects work.


One of the more pleasing aspects of the movie is the sheer love for the genre in general. The bulk of the movie takes place in a single location and the little boy in the house is a monster movie buff. He's viewed as being strange because of his hobbies, yet he's the one character in the movie who is able to grasp what is going on and deal with the alien in an effective manner. Populating the kids room are a plethora of monster movie posters such as THE GREEN SLIME (1968), THE VALLEY OF GWANGI (1969), THE COLOSSUS OF NEW YORK (1958), THE MONSTER ON THE CAMPUS (1958), THE SPIDER (1958), TALES FROM THE CRYPT (1972) and FRANKENSTEIN (1931). Some of the magazines and books populating his shelves are pieces I still own, so that part of the film will likely warm the hearts of monster kids everywhere.


It's not out to win any awards, it's simply there to entertain and in the most energetically gruesome fashion possible. The makers of THE DEADLY SPAWN put a lot of effort into this tiny budgeted flick about a mouthy monster with a big appetite and also one that grows rapidly when exposed to water. The last shot is especially ambitious and promises an even bigger threat about to make mince meat out of the surrounding countryside. If you enjoyed, and still enjoy the manic approach, ingenuity and the look of Raimi's THE EVIL DEAD, than this modest monster opus may SPAWN a similar place on your horror viewing calendar.

This review is representative of the Synapse DVD

Black Magic With Buddha (1983) review

image: HKmovie database

BLACK MAGIC WITH BUDDHA 1983 aka BLACK MAGIC WITH BUTCHERY

Chen Kuan Tai (Chin Ben), Candy Yu (Annie), Lo Lieh (Exorcist Master), Linda Chu (Ben's sister)

Directed by Lo Lieh

***NOTE: A Divix copy was the source of this fairly brief review. I am unable to do images at this time.***

Ben and his old master descend a cave in some remote location and uncover a coffin housing a mummy. Upon removing the brain from the corpse, his elder master hands him a flask of holy water and instructs him to send the demon brain back once he has been granted but a single wish. Building a shrine to the great brain and being greedy, Ben uses the powers of the pulsating mass for other wishes including murder. For each extra wish, the brain becomes enraged and must be fed. Not wishing to undertake the plane trip to the jungle to return the brain back to its home, he buries it in his backyard. This causes even more problems.

Absolutely absurd and undeniably enjoyable trash about an evil, heavy breathing brain that grants wishes, but with disastrous consequences. Lo Lieh, the man with the FIVE FINGERS OF DEATH, directs this outlandish Indonesian lensed horror flick that attempts to, and succeeds in reaching new heights of ludicrousness; at least till the holy grail of gory Hong Kong hokum, THE BOXER'S OMEN (1983) splattered theaters a few months later. What keeps this movie with the most ridiculous of scenarios interesting is that, outside of the last ten minutes, it's played totally straight. Once Buddha comes down to Earth surrounded in a FOR YOUR EYES ONLY (1981) opening credits sequence light show, Lo Lieh's Exorcist Master is "joined" by the 'God With the Four Faces' to bring down the 'Brain Devil', which has consumed Ben with the help of about a dozen brain beasts. Covered in some kind of egg sac, Ben emerges a walking brain monster and confronts the two wizards.

Chen Kuan Tai plays totally against type in this one and the scenes where he's praying to this obscenely heavy breathing, blood caked brain are a riot despite the serious air the filmmakers are aiming for. Lo Lieh, whose only other notable directorial effort was the Shaw Brothers production, CLAN OF THE WHITE LOTUS (1979), is apparently channeling his past glories in some of his Shaw Brothers horror outings such as BLACK MAGIC 2 (1976) and HUMAN LANTERNS (1982), only here, he opts for a good wizard complete with white fright wig. Incidentally, a scene in a disco plays that "Don't Let Go" song that's also heard in both Wang Chung's MOBFIX PATROL (1981) and George Romero's CREEPSHOW (1982).

Sadly and inexplicably, BLACK MAGIC WITH BUDDHA has yet to make an appearance on DVD, but was released on VHS tape and VCD at one point. It is surely the only movie on the planet where a bloated, breathing and glowing brain assimilates over the face of a Mona Lisa painting backed by cues taken from Ridley Scott's ALIEN (1979).